Joan Tewkesbury Movies
Joan Tewksbury was eleven years old when she enrolled at the American School of Dance, where she studied on an off-and-on basis for the next six years. In 1947, Tewksbury made her first film appearance as a child ballerina in the MGM feature The Unfinished Dance. She went on to understudy Mary Martin in the Broadway musical Peter Pan, then worked as a stage, film and TV choreographer in the LA area. From 1958 through 1960, she attended drama classes at USC. In 1971, she went to work as a script supervisor for filmmaker Robert Altman. Under his guidance, she matriculated to co-scripter of Thieves Like Us (1974), finally achieving solo screenplay credit for Nashville (1975). After making her film directorial bow with Hempstead Center, a 1974 documentary on the life of Anne Freud, Tewsbury directed her first stage play, Cowboy Jack, and the following year made her feature-film directorial bow with the uneven but stimulating "woman takes charge of her life" drama Old Boyfriends (1979). Busiest as a television director in the past two decades, Tewksbury has helmed such made-for-TV features as The Tenth Month (1979), Wild Texas Wind (1991) and On Promised Land. She has also directed episodes of Alfred Hitchcock Presents (the 1986 revival version), Northern Exposure, Doogie Howser MD and Picket Fences, and was also responsible for the teleplay of the well-received cable-TV movie Cold Sassy Tree (1992). In 1986, she joined the faculty of UCLA, teaching a filmwriting course. Despite her behind-the-camera activities, Joan Tewksbury has never completely abandoned acting; in 1993, she was seen in a cameo in Robert Altman's The Player. ~ Hal Erickson, All Movie Guide
Based upon Peter Biskind's book of the same name, this BBC-produced documentary traces the rise of a generation of Hollywood filmmakers who briefly changed the face of movies with a more personal approach that pushed the boundaries of what was acceptable onscreen. Influenced by such European directors as Jean-Luc Godard, François Truffaut, and Federico Fellini, the movement kicked off in the mid-'60s with two films directed by Arthur Penn: Mickey One and Bonnie and Clyde. (The latter had been offered to both Godard and Truffaut before it wound up with producer/star Warren Beatty and Penn.) What really kicked it into gear was the unexpected success of Easy Rider, a biker-road movie that became that rare film phenomenon: acclaimed at the Cannes Film Festival and a huge commercial success. Film school graduates, the first generation brought up with movies as their main cultural reference, flooded the studios (whose own regimes were changing) with production chieftains such as Robert Evans of Paramount and David Picker at United Artists; they approved risky-looking projects and allowed relatively untested filmmakers like Francis Ford Coppola to take on heavyweight movies such as The Godfather or Hollywood newcomers like Britain's John Schlesinger to make quirky stories like Midnight Cowboy. Enriched by success with their TV show The Monkees, producer Bert Schneider and director Bob Rafelson formed a company that produced not only Easy Rider but seminal '70s films such as Five Easy Pieces and the Oscar-winning Vietnam War documentary Hearts and Minds. Another godfather to the new movement was producer Roger Corman, who gave early career opportunities to Coppola, Martin Scorsese, Peter Bogdanovich, and Jonathan Demme on low-budget projects that allowed them to learn their craft.
Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide
Two things brought this movement to an end: Some individual filmmakers' personal excesses (such disastrous flops as Dennis Hopper's follow-up to Easy Rider, appropriately titled The Last Movie, and Scorsese's New York, New York), and the studios growing fascination with special effects-driven B-movies. An outgrowth of two box-office and marketing juggernauts -- Jaws and Star Wars -- the resulting films became entertainments rather than personal statements of the directors. Narrated by William H. Macy, Easy Riders, Raging Bulls features vintage clips of Coppola, Scorsese, Beatty, George Lucas, Sam Peckinpah, Roman Polanski, Robert Altman, and Pauline Kael. It also includes original interview material with Penn; Corman; Bogdanovich; Hopper; Picker; writer/directors John Milius and Paul Schrader; actresses Karen Black, Cybill Shepherd, Margot Kidder, and Jennifer Salt (the latter two shared a house in Malibu, a social center for young filmmakers); actors Peter Fonda, Kris Kristofferson, and Richard Dreyfuss; producers Jerome Hellman, Michael Phillips, and Jonathan Taplin; editor Dede Allen; production designer Polly Platt; writers David Newman, Joan Tewksbury, Gloria Katz, and Willard Huyck; cinematographers Laszlo Kovacs and Vilmos Zsigmond; agent Mike Medavoy; and former production executive Peter Bart. Among the films discussed are Rosemary's Baby, The Wild Bunch, Mean Streets, American Graffiti, The Rain People, Midnight Cowboy, M*A*S*H, McCabe and Mrs. Miller, The Last Picture Show, Shampoo, Taxi Driver, and Raging Bull. (Three interviewees -- cinematographer Gordon Willis, critic Andrew Sarris, and writer-director Monte Hellman -- listed in the Variety review of this film, were not included in this version from a screening on Bravo.) ~ Tom Wiener, All Movie Guide
- Starring:
- Dede Allen, Peter Bart, (more)
- 1998
In this bittersweet comedy-drama, Olympia Dukakis plays Dotty, a woman with extreme agoraphobia. Dotty's condition has prevented her from leaving her house for the past 20 years, but just before her husband Hiram (Andy Griffith) died, he made Dotty promise that she would scatter his ashes near Cathedral Rocks, a mountain range in New Mexico where Dotty and Hiram used to vacation before her agoraphobia set in. One night, Hiram appears to Dotty in a vision and reminds her that she hasn't made good on her deathbed promise to him, telling her that he won't know true peace until his ashes have been scattered according to his wishes. Realizing she has to make good on her promise, Dotty steels herself for a long voyage as she leaves her home for the first time in two decades. Produced for television, Scattering Dad was first aired on the CBS television network on May 27, 2001.
~ Mark Deming, All Movie Guide
~ Mark Deming, All Movie Guide
- Starring:
- Olympia Dukakis, Andy Griffith, (more)
- 1994
Set in the South during the 1950s, this touching youth-oriented drama recounts the tragic events that lead a rich, white widow to befriend a young black child. ~ Sandra Brennan, All Movie Guide
- Starring:
- Joan Plowright, Carl Lumbly, (more)
Robert Altman takes a scalpel to Hollywood ethics in the 1990s (or the lack thereof) in his acidic satire The Player, adapted from Michael Tolkin's novel. (Tolkin also wrote the screenplay.) The film concerns a sleek and smooth Hollywood studio executive who starts receiving death threats from a disgruntled writer because he has committed the ultimate Hollywood sin -- he promised the writer he would call him back and he never did. This is particularly ironic because the studio executive, Griffin Mill (Tim Robbins), is considered "writer-friendly," spending his days listening to pitches from such noted screenwriters as Buck Henry, who is pushing "The Graduate, Part II" and Alan Rudolph, who is hawking a Bruce Willis action film described as "Ghost meets The Manchurian Candidate." But The Player finds Griffin's comfortable life style in danger of collapse. He is trying to find a way to unload his girlfriend (Cynthia Stevenson) whose independence and intelligence make her a poor candidate for a trophy wife. More importantly, it seems that Larry Levy (Peter Gallagher), a slippery executive from Twentieth Century Fox, is angling for his job. And then there are those nasty postcards and faxes from a screenwriter threatening to kill him. Altman cast over 65 stars in cameo roles as texture for his scabrous tale. ~ Paul Brenner, All Movie Guide
- Starring:
- Tim Robbins, Greta Scacchi, (more)
- 1991
Dolly Parton goes dramatic in Wild Texas Wind--with plenty or songs in her repertoire to gloss over the script's shortcomings. This made-for-TV movie costars a curiously hammy Gary Busey as the manager of a country western band fronted by Parton. Through his business acumen, Parton's aggregation goes to the top. But the price of fame is Parton's peace of mind; she enters into a love affair with Busey, who proves to be psychotically abusive. Despite constant beatings, Parton stands by Busey until she gains the gumption to stand alone. C & W fans may not cotton to the storyline of Wild Texas Wind, though they'll probably be appeased by the musical performances of Dolly Parton, Ray Benton and (in a cameo) Willie Nelson. ~ Hal Erickson, All Movie Guide
- 1991
- R
Three forms of sexual dysfunction provide the basis of this anthology. The first episode centers on a married couple who can only make love in the presence of a stranger. The second centers on a crazed woman with a constant compulsion to masturbate. The third centers on a voyeur who is planning to marry a woman he doesn't love. ~ Sandra Brennan, All Movie Guide
Based on Sara Flanigan Carter's semi-autobiographical novel, the made-for-cable Sudie and Simpson is about a White 12-year-old girl called Sudie who becomes friends with a shy, lonely Black adult named Simpson who has been ostracized from their rural Georgia town. Eventually, the small community becomes enraged about their friendship, and Simpson is unjustly accused of child molestation. ~ Stephen Thomas Erlewine, All Movie Guide
- 1989
Set in the early 1900s in a small Southern town, this made-for-cable television romance centers on the "scandalous" love affair that blossoms between a free-thinking, strong-willed Northern widow and the much older owner of a local general store. The plot is based on a novel by Olive Ann Burns. ~ Sandra Brennan, All Movie Guide
Veering off in several thematic directions at once, A Night in Heaven starts with a torrid student-teacher romance which becomes somewhat derailed by adding on a failing marriage, political allusions related to NASA, a frustrated sister of the teacher, and several additional characters, many of whom are stuffing bills into male dancer's jock straps. Faye (Lesley Ann Warren) has just flunked a student in her speech class when she goes out that night to the "Heaven" nightclub and lo-and-definitely behold, there is Rick (Christopher Atkins), the failed student in his incarnation as a successful male stripper. This was a view of the student that Faye had never expected, and before anyone can flip a $20, the two are making mad, passionate love. While this may satisfy a few fantasies, events lead to an ultimate confrontation between the teacher's husband (who worked for NASA) and Rick that is even less believable than the student-teacher sexual liaison. ~ Eleanor Mannikka, All Movie Guide
- Starring:
- Christopher Atkins, Lesley Ann Warren, (more)
- 1982
First telecast March 2, 1981, The Acorn People was adapted by director Joan Tewksbury from the book by Ron Jones. Ted Bessell plays a no-nonsense children's counselor who takes a job at a summer camp for severely handicapped children. The kids jokingly refer to themselves as "the acorn people"--a reference to the acorn necklaces that they've made for themselves, and to the fact that they'd never blossomed into full-grown "trees." Bessell is determined to remain detached from his charges, but with the help of nurse Cloris Leachman and assitant LeVar Burton, Bessell emerges from the two-week camp a compassionate, caring person, as fully concerned with the lives of the Acorns as the year-round staff. The Acorn People was filmed on location in Dallas, with several of the area's genuine handicapped children playing supporting roles. ~ Hal Erickson, All Movie Guide
Noted screenwriter Joan Tewksbury made her directorial debut with this bittersweet comedy-drama. Diane Cruise (Talia Shire), a psychologist going through a severe depression, takes a long look at her life after attempting to commit suicide. Diane decides to pay a visit to her former boyfriends in order to get in touch with her past and map out her future. She meets up with her high school sweetheart Eric Katz (John Belushi) and gets to turn the tables on him in revenge over a past humiliation. She also finds Jeff Turrin (Richard Jordan), her college beau who now works as a filmmaker, and she discovers that the first boy she fell in love with has died -- only to find herself drifting into an unexpected romance with his older brother, Wayne Van Til (Keith Carradine). The supporting cast features John Houseman, Buck Henry, Gerritt Graham, and P.J. Soles. ~ Mark Deming, All Movie Guide
- Starring:
- Talia Shire, Richard Jordan, (more)
- 1979
Robert Altman protégé Joan Tewkesbury called the directorial shots on the made-for-TV The Tenth Month. After a whirlwind affair with famed concert pianist Keith Michell, middle-aged, unmarried Carol Burnett becomes pregnant. Rather than seek out the father, she decides to raise the baby by herself. Though she'd previously played comparatively "straight" roles in such films as The Front Page (1974), The Tenth Month represented Carol Burnett's TV dramatic debut, as well as her first post-Carol Burnett Show project (the producer was her husband Joe Hamilton). Adapted by Ms. Tewkesbury from a novel by Laura Z. Hobson, The Tenth Month premiered on September 16, 1979. ~ Hal Erickson, All Movie Guide
Following 24 characters through 5 days in the country music capital, Robert Altman's 1975 epic presents a complexly textured portrayal (and critique) of American obsessions with celebrity and power. Among the various stars, aspirants, hangers-on, observers, and media folk are politically ambitious country icon Haven Hamilton (Henry Gibson) and his fragile star protegée Barbara Jean (Ronee Blakley); Tom (Keith Carradine), a self-absorbed rock star who woos lonely married gospel singer Linnea Reese (Lily Tomlin); Sueleen Gay (Gwen Welles), a talentless waitress painfully humiliated at her first singing gig; Albuquerque (Barbara Harris), a runaway wife with dreams of stardom; nightclub owner Lady Pearl (Barbara Baxley), who reminisces about "those Kennedy boys"; single-minded groupie L.A. Joan (Shelley Duvall); vapid BBC commentator Opal (Geraldine Chaplin); and campaign guru John Triplette (Michael Murphy), who is trying to organize a concert rally for the unseen but always heard populist presidential candidate-cum-demagogue Hal Phillip Walker. Everything comes to a head during a climactic concert at Nashville's replica of the Parthenon temple, as the entertainment-hungry audience is momentarily woken out of its stupor by unexpected violence, only to be lulled into a restorative sing-along to "It Don't Worry Me." ~ Lucia Bozzola, All Movie Guide
- Starring:
- Henry Gibson, Barbara Baxley, (more)
Released in the same 12-month span as Terrence Malick's Badlands (1973) and Steven Spielberg's The Sugarland Express (1974), Robert Altman's Thieves Like Us (1974) also tells a story of doomed outlaws in love. Depression-era criminals T-Dub (Bert Remsen), Chicamaw (John Schuck), and Bowie (Keith Carradine) band together to rob banks after escaping from a prison farm. Hiding out with Dee Mobley (Tom Skerritt) and Keechie (Shelley Duvall), and then with T-Dub's in-law Mattie (Louise Fletcher) between bank jobs, the three crooks are a loyal group, but increasingly sensational news accounts of their bloodless robberies force them to split up before their next crime. After a car accident, Chicamaw leaves the injured Bowie in Keechie's care. Love blossoms between the two naïfs, compelling Bowie to find a way to balance his bond to Keechie with his loyalty to his friends and the need for money to head for Mexico. With the law closing in, Bowie and Keechie learn the hard way about the finite honor among thieves, and the need to survive. Adapted from the same Edward Anderson novel as Nicholas Ray's They Live By Night (1949), Altman, writers Calder Willingham and Joan Tewkesbury, and Altman's acting "regulars" reworked not just the classical crime movie but also the 1967 hit Bonnie and Clyde, presenting a resolutely unglamorous portrait of this Coke-swilling outlaw couple and the survivors' stoic drive to carry on. With the radio providing soundtrack and commentary, and the newspapers sending a veiled warning, Bowie and Keechie cannot escape the outside world, but they also cannot transcend it into the realm of myth. Rather than turning the crimes into stylish exploits, Altman's camera remains outside most of the robberies, observing the banal action on the street; he saves the slow-motion in the climactic shoot-out for the witnesses rather than the dead. His zoom shots hover between fragments of emotion and place, while they maintain their observational distance. Unfortunately for Altman (and Malick and Spielberg), audiences preferred outlaw glamour to genre-bending introspection. Still, with its deceptively laid-back tone, eye for expressive detail, and ear for ironic juxtaposition, Thieves Like Us takes its place in Altman's exceptional body of early 1970s work. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Keith Carradine, Shelley Duvall, (more)
Roger Willoughby (Rock Hudson) is a super salesman of sporting goods who sells fishing equipment but knows nothing about the sport. Roger's boss Cadwalader (John McGiver) gets an idea from publicity director Abigail (Paula Prentiss) to enter him in a fishing contest, and the inept angler has a series of comic consequences before he wins the contest with some help from a bear. When Roger admits that his winning the event was merely luck, he turns in the prize and loses his job. Roger eventually wins Abigail's heart and gets his job back. Howard Hawks directs this slapstick comedy with his typical flair -- witty dialogue and effective sight gags included. ~ Dan Pavlides, All Movie Guide
- Starring:
- Rock Hudson, Paula Prentiss, (more)
